Out to Lunch!
Artist: Eric Dolphy *Album: Out To Lunch! *General Genre: Jazz *General Style: Avant Garde Jazz *Released: 1964 *Recorded: February 25, 1964 at Van Gelder Studio, Englewood Cliffs, New Jersey *Label: Blue Note *BST 84163 *Producer: Alfred Lion Out to Lunch! was Eric Dolphy's only recording for Blue Note Records as a leader and was originally issued as BLP 4163 and BST 84163. Today it is generally considered one of the finest albums in the label's history, as well as one of the high points in 1960s jazz avant garde and in Dolphy's discography. The title of the album's first track, "Hat and Beard", refers to Thelonious Monk; the song contains a famous percussive interlude featuring Tony Williams and Bobby Hutcherson. "Something Sweet, Something Tender" includes a noteworthy duet between Richard Davis on bass and Dolphy on bass clarinet. The third composition, "Gazzelloni", was named after classical flautist Severino Gazzelloni, but is otherwise the album's most conventional, bop-based theme. The second side features two long pieces for alto saxophone: the title track, and "Straight Up and Down", intended, according to the original liner notes, to evoke a drunken stagger. Tony Williams had turned eighteen a few months (75 days) before this recording, and is listed as "Anthony Williams" on the album cover. A few months after recording this album, Dolphy went on a European tour with Charles Mingus. He died shortly thereafter of a diabetic coma. Reception The Penguin Guide to Jazz selected this album as part of its suggested "Core Collection" and awarded it a "crown" stating "If it is a masterpiece, then it is not so much a flawed as a slightly tentative masterpiece." The album was identified by Chris Kelsey in his Allmusic essay "Free Jazz: A Subjective History" as one of the 20 Essential Free Jazz Albums. Track listing All compositions by Eric Dolphy. #"Hat and Beard" – 8:24 #"Something Sweet, Something Tender" – 6:02 #"Gazzelloni" – 7:22 #"Out to Lunch" – 12:06 #"Straight Up and Down" – 8:19 Performers *Freddie Hubbard — trumpet *Eric Dolphy — bass clarinet (1 & 2), flute (3), alto saxophone (4 & 5) *Bobby Hutcherson — vibraphone *Richard Davis — bass *Tony Williams — drums All About Jazz Article Being a Charles Mingus fanatic, I often ask the question, "Are you into Eric Dolphy?" To my appalled surprise, more often than not I get the response "Who?" That, my dear fellow jazzites, is totally unacceptable! For those of the aforementioned group who have not been knocked down at the knees while Dolphy blows from the speakers, I'll testify. Before his untimely demise from diabetes in 1964 at the age of thirty-six, Eric was responsible for some of the finest, most original and eclectic material to be etched into the body of jazz. Starting out in classical flute under the tutelage of Elise Moennig, Dolphy began using the bass clarinet as a tool of improvisation. He then proceeded to work with Chico Hamilton, gaining some popularity that spanned a prolific output for Prestige in 1960-61. This period may have been his most productive, but many critics and fans considered his tenure at this time with Mingus as his big break. His output with Mingus's Jazz Workshop is legendary. The temperamental Mingus saw Dolphy in the same light as Miles Davis did Coltrane, calling Dolphy a saint. His use of Dolphy's multi-instrumentalist-bass clarinet, alto sax and flute-tact and original style was a big part of the Workshop and was heartbroken when Dolphy headed back out on his own as a bandleader. Much like John Coltrane, Dolphy had a taken a while to build up his spotlight and also was taken under the wing of a genius who allowed his style to reach a large audience. It is easy to parallel the two musicians; once they stepped out the shadows of their mentors they created some the greatest and most original work of the '60s. As with fellow free jazz innovator Ornette Colman-and of course Trane-Dolphy was fundamental in creating the foundation of free jazz and avant-garde. Out to Lunch is one of the finest records of its kind. This record is easily at the caliber of A Love Supreme and The Shape of Jazz to Come. That may seem a mighty bold statement. Well, dear readers, I mean every word. Out to Lunch flows soft and serene, then edgy and forthright. The magic is the way Dolphy leads his band. A touch of ease drops over the soundscape of the tracks before the trademark blast of jagged rips and chops run to the edge off a cliff and dangle with sounds that shake jazz's boundaries. Dolphy shows himself as solid bandleader and arranger who opens up plenty of room of for his players. Much in the ideology of his fellow avant-garde players, the solos exude experiment. Yet Dolphy's control is masterful and no matter how far out he gets, you can feel his passion and know his path has been well articulated. A great example of the record's contrast in sound is "Something Sweet, Something Tender," which lays out a smooth layer of vibes by Bobby Hutcherson before Dolphy launches into his atonal attack. His work is not altogether estranged from the music that came before. If nothing else his style builds on the work of bebop masters. But for this time around Dolphy walks away from those conventions and gives the experimental a huge to canvas for his textures. This record is where Dolphy starts blazing into the territory of Cecil Taylor. Unlike Taylor, Eric tried for natural or possibly 'nature' sounds which included imitating bird and others gathered from nature. Though not for the faint of heart, this is a certain bible for the avant-garde players to come such as Anthony Braxton, Albert Aylers and John Zorn. Although the Prestige recordings spark a point that critics often argue, Dolphy was a freer player than Coltrane but held more to tradition than Coleman. Is this true? Out to Lunch shows Dolphy more apt for sonic annihilation than keeping in tradition, but the playing is in many ways a freer flight than what Coltrane was doing at the same period. None the less Dolphy shows his passion and unique style that would influence future players still to this day. Suggested Listening: Eric Dolphy - At the Five Spot ' Prestige, 1961 Eric Dolphy - Outward Bound ' Prestige, 1960 Eric Dolphy - Iron Man ' Verese, 1963 Eric Dolphy - Last Date ' Westwind, 1964 With Mingus and Other Players: Charles Mingus - Mingus at Antibes - Atlantic, 1960 Charles Mingus - The Complete Candid Recordings - Mosaic, 1961 Ornette Coleman Double Quartet - Free Jazz (A Collective Improvisation) - Atlantic, 1961 John Coltrane ' Complete 1961 Village Vanguard Recordings - Impulse!, 1961/ GRP 4-disc box set, 1997 Booker Little - Out Front - Ace ,1961 Category:1000 лучших джазовых альбомов Category:Джаз Category:Альбом Category:Альбом 1964 года